I mainly work with sketch-like painting techniques in gouache, pastel and marker pen. My paintings shift between different temperaments, ranging from painting with pigment on the fingers to detailed work with long narrow brushes and calligraphy pens. The images often take shape as zoomed-in portraits with a sort of abstracted visor. Clusters of movement and shapes which, unlike the depicted elements, are created spontaneously. The thoughts revolve around three forms of consciousness, the inner, outer, and digital consciousness. The inner life of man from the outside and the digital humanoid versus the stone age man. It is a desire to understand oneself and others from the perspective of our time. Would you resemble the person you are today if you were born a 1000 years ago? Movements between being a head, a body, or a pair of eyes with a scrolling thumb.

I have invented methods and widened my view within my artistic process. It could be explained as frameworks or templates for my work, but it is also the opposite, an absence of strictness. To be more things at the same time, think several thoughts at once and not get stuck in rigid concepts. Painting has been a way forward, but it has also required time to develop. During that time, I have wandered between abstraction and representation to finally work with both, often at the same time.

Previously my focus has been on sculpture and collage. What has now become paintings is a further development of sketches that were previously only drafts for my works, so the starting point has really been the same. Sculpturally, I have worked extensively with clay as a base, followed by mold making and casting. I have, furthermore, worked with a chalk-based paper clay as a final form as well as porcelain and ceramics. Sculpture and three-dimensional elements still have an important place in my practise. Drawings still become sculptures and sculptures become paintings. I like the feeling of thinking with my hands and thereby bypassing the conscious thought.